Monday, 6 March 2017

Expanding on my previous post on the anathema of the concept of 'otherness' or 'queerness' as a celebration of 'not' being part of greater society, rejecting Arbus's self harming label of herself and her subjects' as 'aristocratic freaks'.In this context I am discussing my new work, 'Geoff and Tina, Basildon, Essex' currently showing at 'Transgender, Gender and Psychoanalysis' this week and later at theArte Laguna Prize. I am looking ambivalently at the existential nature of persona through the exploration of the transformation itself. Although this is ostensively a portrait of 'Geoff and Tina' the work is as auto-biographical as the self-portraits of those exploring their own identities in the same space. This follows the tradition of my practice in using the relationship with others to communicate my own interests consciously and unconsciously in that moment."A subject is merely a vessel through which to explore one's own humanity and sense of place. It is relational. A portrait is how we see others and therefore more about the artist than the sitter." - Pablo PicassoWhilst my primary concern is this communication of my feelings in relationship to a sitter, I would like to caveat such a seemingly selfish statement with the further declaration that the therapeutic value of photography to others as a way of allowing them to be 'seen' is part of an essential moral balance and portraiture is a collaboration, permission has been granted. The moral tightrope act is complicated by the exploration of subjects with physical and mental health issues (see previous posts 'Representing Otherness' and 'Dignity'.The trans experience is a helpful vehicle to explore in visual terms, the need for a developed persona as a protection against the world. The less comfortable we are in our relationship to society the more pronounced the persona as a defence. My interest is to investigate the persona that may have been successful in protecting us to a certain point in our lives but has become a hindrance to future progress. So, when asked about my interest in the nakedness of a subject, one answer is that it is a metaphor for the stripping back of the protective layers to expose the genuine, vulnerable human. In photographic terms I feel this is the closest thing that we as the protagonists can come to representing any kind of truth in a single moment. "The expectation of the photographic portrait is that it somehow representative of some sense of truth or observation of the person, some form of insight into their nature. This is as impossible as in paint but there is a declared sense that it is 'of' someone. The fine art photographer as portraitist has to reset the parameters of seeing so as not to be judged by this convention." Pablo Picasso'Geoff & Tina' is new work and this is a new edition created for this event and there is another transformation happening; from the pixels stimulated by the light from the source object to the creation of the finished framed Gyclee print as tangible object of desire, presented in the gallery space (which in this case is a community hall in Elephant and Castle and the Arsenale di Venezia). This goes some way to representing my own process of engaging with the world in an 'actual' way and this is an essential part of the artistic process. The Internet is a useful space but it is like dipping a toe in the water as a precursor to full immersion. If we are committed, then we are recognising our work as a part of ourselves and the risk of rejection in asking society to accept us is greater, we are stepping out of the safe confines of our constructed universe and daring to face society in microcosm in the gallery space.Thanks to Tina and the National Portrait Gallery who researched these quotes from Picasso for their recent 'Portraits' exhibit.